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This Was the Pace of My Heartbeat

Price: £13.82 & FREE Delivery in the UK. Details
Includes FREE MP3 version of this album.
Does not apply to gift orders. See Terms and Conditions for important information about costs that may apply for the MP3 version in case of returns and cancellations.
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13 new from £9.46 2 used from £12.63 1 collectible from £1.99

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Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Song Title Time Price
Listen  1. Where Can We Go 2:55£0.89  Buy MP3 
Listen  2. Beaver Creek 6:29£0.89  Buy MP3 
Listen  3. Tree Canopy Walkaway 4:11£0.89  Buy MP3 
Listen  4. How To Get Acquainted 5:43£0.89  Buy MP3 
Listen  5. In My Time Of Need 4:29£0.89  Buy MP3 
Listen  6. Only The Birds Can See Us 7:34£0.89  Buy MP3 
Listen  7. Trio For Quartet 4:12£0.89  Buy MP3 
Listen  8. 0883 Oslo 3:05£0.89  Buy MP3 
Listen  9. Aerial Dark Bright Round 6:14£0.89  Buy MP3 
Listen10. Viggo 4:40£0.89  Buy MP3 
Listen11. Laschia Ch' Io Pianga 2:50£0.89  Buy MP3 

Product Description

I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it.

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Most Helpful Customer Reviews on (beta) 3 reviews
1 of 1 people found the following review helpful
A weird amalgam of free playng and pop/classical musings 16 April 2013
By Brian Whistler - Published on
Format: Audio CD Verified Purchase
This album was recommended to me because of my fondness for EST and European jazz in general. I have tried twice to listen to it with an open mind but I just can't get into it. There is a looseness that is intriguing at first but at times borders on garden variety sloppiness. The tunes seem vague and the free playing unfocused. The album seems to bounce between Bley inspired noodlings and triadic little pop songs, with occasional classical pretensions.

Note: There is zero actual solo line playing. none really. It is mostly about group improvisation and the only melodic stuff is of a minimalist, vaguely classical, liturgical bent. The pianist likes to hang out in the lower registers, often laying down deliberately muddy sonorities. I have to disagree with the reviewer who compares this guy with Tord Gustavsen. This music has very little in common with Gustaven's disciplined, refined piano playing, lyrical writing and jazz oriented improvisation. I would even go as far as to say this group brings very little true jazz sensibilities to the table,with the exception of a couple of the free jazz selections-this trio can sort of approximate the sound of that. But to compare the group interactions to the Evans/Motian/LaFaro trio is completely absurd and even laughable. And what's up with that song, Viggo? Sounds like a bunch of drunk people singing the national anthem of Slobovia. While listening to this album, I had the peculiar feeling at times that the players have each decided, regardless of the music's pull to play " inside" and groove here and there, to stick to some agreed upon credo and play "weird", ie as if they don't know how.

In their defense, I do like the way this group flaunts tradition in that they seem completely uninterested in the usual head, solo, head out jazz form. I like the aesthetic of a group oriented interactive approach when it's done well. But for me, I often had a 'waiting for something to happen' feeling that never got me where I hoped I would be taken. Indeed, by the end I really didn't feel I had gotten anywhere at all.

Summing up, if asked to describe this trio in one word, I would have to say, "interesting." Not a word I use for something I like, but not a total diss either. Just not my cup of tea. And I'd better leave it at that, as I haven't had my morning coffee yet.
An impressive new trio 11 Feb 2006
By Jess Row - Published on
Format: Audio CD
Morten Qvenild draws together many influences for this wonderful new recording: the quiet focus of his countryman Tord Gustavsen, the improvisational complexity of the Evans/LaFaro/Motian trio, the spareness and free tendencies of Paul Bley, and the density of Brad Mehldau and Ethan Iverson. It's very much an expression of the moment in this particular corner of the jazz world. One standout, at least, is Qvenild's interpretation of the Ryan Adams ballad "In My Time of Need," heartbreaking and hymn-like. A very exciting emerging talent.
1 of 2 people found the following review helpful
In The Country - "This Was the Pace of My Heartbeat" 5 Jan 2006
By Audiostar - Published on
Format: Audio CD
"Keyboardist Morten Qvenild is one of Norway's most valuable utility players. He is the "orchestra" in the incredible post-Björk duo Susanna and the magical orchestra, writer and arranger for jazz singer Solveig Slettahjell, former member of pop-prog-jazz instrumentalists Jaga Jazzist and Shining, and part of chart-topping supergroup the National Bank. Qvenild gets to display his piano-jazz chops with In The Country, featuring bassist Roger Arntzen and drummer Pål Hausken, and the trio's debut CD is a stunner.

From the jazz world, Qvenild cites Paul Bley and Norwegian free player Svein Finnerud as influences, from classical Olivier Messiaen and Morton Feldman. Qvenild also has a great ear for pop melodies: His gorgeous solo cover of Ryan Adams' woozy ballad "In my time of Need", played with almost no extrapolation on the theme, renders the song a pure lullaby. Qvenild's mixture of jazz phrasing, classical sensibilities and love of songcraft leads In The Country through 11 songs that rarely rise above a whisper but carry the emotional power of a screaming stack of Marshall amps.

The album is so focused that the tracks work together like a suite, but individual highlights abound. "Bever Creek" starts as a meditation and builds to something like slow-motion free jazz before returning to the gentle melody. "How to get Acquainted" rumbles through sublimely measured tension that, when released, feels like a giant hook in a pop song. "Viggo" features Hausken's haunted wail, singing wordlessly with the melody. The CD closes with Handel's reverential lament "Laschia Ch'io Pianga", played by Qvenild on a Casio SK-10, simultaneously post-modern and classic, just like the rest of the album."
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